f 


( 


V 


BUST  OF  W.  P.  WILSTACH.— WM.  H.  RINEHART. 


TkiloA-t^W'  a . F*vr  TYv6tAi  "Vary.  t*>*  . Ur. 

Wllsfac-Vv  C.ell<sc.t'i  ov 


CATALOGUE 


OF  THE 


W.  P.  WILSTACH  COLLECTION. 


MEMORIAL  HALL, 

Fairmount  Park,  Philadelphia. 


EDITED  BY 

‘CAROL  H.  BECK. 


S)ost  tbou  love  pictures?— 

Taming  of  the  Shrew , Induction , Sc.  2. 

Xook  bere  upon  tbis  picture  anb  on  tbis. 

Hamlet , Act  III , Sc.  4- 


PUBLISHED  BY  THE 

COMMISSIONERS  OF  FAIRMOUNT  PARK, 

1893. 


Copyright  1893. 

Commissioners  of  Fairmount  Park, 
Philadelphia. 


Engraved  and  Printed  by 
The  Levytype  Co 
Philadelphia 


1 o S',  I 
P 5~3  c_ 
I8rl3 


Cbe  M.  p.  Wilstacb  Collection. 


1pi2G0% 


COMMISSIONERS 


. . OF. . 

FAIRMOUNT  PARK. 

. . . 1893  . . . 


PRESIDENT. 

JAMES  McMANES, 


VICE-PRESIDENT. 

DAVID  W.  SELLERS. 


TREASURER. 

WILLIAM  M.  SINGERLY. 


Samuel  Gustine  Thompson, 
William  S.  Stokley, 

P.  A.  B.  Widener, 

John  R.  Fell, 

James  L.  Miles, 

John  L.  Ogden, 


A.  J.  Cassatt, 
Edwin  S.  Stuart, 
Hamilton  Disston, 
Charles  W.  Henry. 
Wencel  Hartman, 
A.  S.  Eisenhower, 


George  S.  Webster. 


Secretary,  F.  M.  DOUGHERTY, 
Office  of  Commission,  City  Hall. 


Park  Solicitor,  SAMUEL  C.  PERKINS, 
Office,  627  Walnut  Street. 


Chief  Engineer  and  Superintendent,  RUSSELL  THAYER, 
Office  of  Commission,  City  Hall. 


IV 


MEMORIAL  HALL. 


library 


OF  THE 

UNIVERSITY  of  ILLINOIS 


Ilntrotmctori?. 


IISHILADELPHIA  is  indebted  to  the  thoughtful  and  munifi- 
cent  generosity  of  Mr.  and  Mrs.  W.  P.  Wilstach  for  the 
collection  of  art  treasures  herein  catalogued.  The  former  de- 
voted a fortune,  which  he  had  gained  in  mercantile  pursuits,  to 
his  own  and  his  fellow-men’s  aesthetic  cultivation,  and  during  his 
busy  life  collected  with  great  judgment  and  taste  the  paintings 
and  statuary  which  form  the  nucleus  of  the  Wilstach  collection. 
The  latter  by  economy  and  thrift  so  increased  the  fortune  which 
she  inherited  from  her  husband  as  to  enable  her  not  merely  to 
dedicate  the  collection  to  the  perpetual  enjoyment  of  her  city, 
but  also  to  afford  it  an  endowment  for  its  maintenance  and  in- 
crease such  as  few  public  galleries  enjoy  at  the  present  time. 
This  not  merely  insures  continuous  addition  ©Valuable  paint- 
ings and  statuary  to  the  present  collection,  but  thereby  justifies 
the  reasonable  expectation  that  it  will  become  in  the  future  one 
of  the  representative  galleries  of  America. 

To  those  charged  with  the  administration  of  this  trust,  as 
well  as  to  its  beneficiaries,  the  people  of  Philadelphia  and  the 
art  world  in  general,  Mr.  Wilstach’s  high  ideal  in  selecting  his 
pictures  cannot  be  otherwise  than  interesting  and  instructive. 
He  writes  to  a friend:  “I  have  an  object  which  I wish  to  keep 

steadily  in  view,  and  that  is  to  purchase  works  of  the  best 
quality  by  men  of  acknowledged  reputation,  so  that  the  whole 
collection,  so  far  as  it  may  be  extended,  will  be  a pretty  fair 
representation  of  the  strength  of  the  artists  whose  works  may 
be  embraced  within  its  limited  scope.  I am  aware  that  artists 


VII 


do  not  at  all  times  and  on  all  trials  of  their  skill  throw  out 
equally  their  abilities  and  as  real  representative  pictures,  but  a 
small  number  of  each  one’s  works  can  be  regarded  by  a critical 
knowledge  and  good  taste  as  embodying  within  itself  more  than 
a fair  average  of  the  artist’s  well  known  and  recognized  ability. 
I do  not  wish  to  invest  in  any  work,  no  matter  how  cheap,  un- 
less the  work  is  really  considered  as  one  of  the  happy  successes 
of  the  artist’s,  as  doing  so  would  defeat  the  object  in  view  and 
lower  the  standard  of  the  collection,  notwithstanding  the  bril- 
liant names  that  may  be  found  in  the  catalogue.” 

To  Mrs.  Anna  P.  Wilstach  is  due  the  honor  of  giving  legal 
form  and  effect  to  this  purpose  of  providing  Philadelphia  with 
a representative  collection  of  art  works.  In  her  original  will, 
dated  July  31st,  1873,  she  directed  as  follows: 

”...  Item.  One  other  equal  fourth  part  thereof  unto  the 
City  of  Philadelphia,  if  accepted  by  the  Fairmount  Park  Com- 
missioners as  now  authorized  by  Act  of  Assembly,  upon  the  con- 
ditions and  for  the  purposes  following,  namely: 

To  erect  a secure  Art  Gallery  in  said  park  for  the  exhibition 
of  pictures  and  works  in  the  Fine  Arts,  on  a plan  similar  to  the 
new  building  for  such  exhibition  at  Dresden  in  Saxony,  to  be  so 
built  as  to  admit  of  extension  with  the  increase  of  funds  with- 
out impairing  the  harmony  of  the  edifice  or  destruction  of  any 
portion  of  the  original  building;  but  if  there  should  be  a suitable 
permanent  building  left  in  said  park  after  the  Centennial  cele- 
bration of  1876,  in  which  pictures  mentioned  below  may  be  re- 
ceived and  preserved  distinctly  from  other  collections,  so  as  to 
be  known  as  the  ‘Wilstach  Collection,’  then  the  erection  of 
another  building  may  be  omitted,  and  donations  shall  be  ac- 
cepted for  said  collection,  and  invited  by  the  said  Commis- 
sioners. 


VIII 


To  the  said  City,  but  to  be  under  the  custody  and  control  of  the 
said  Fairmount  Park  Commissioners,  I also  direct  all  my  paint- 
ings, pictures  and  statuary,  including  those  of  my  late  husband,  to 
be  given  and  transferred  to  the  said  city  for  said  purposes  and 
placed  in  the  ‘Wilstach  Collection.’  Their  exhibition  shall  be 
public,  under  regulations  to  be  established  by  the  said  Fair- 
mount  Park  Commissioners,  and  as  soon  as  practicable  shall  be 
gratuitous,  and  the  opening  thereof  shall  be  as  soon  after  my 
decease  as  a gallery  can  be  provided  for  their  reception. 

All  the  said  fourth  of  said  residuary  estates  not  expended  in 
erecting  such  hall  of  art,  and  the  whole,  if  no  such  hall  shall  be 
required  to  be  built  out  of  said  fund,  shall  be  kept  invested  in 
lawful  investments  by  the  said  Fairmount  Park  Commissioners, 
subject  to  the  jurisdiction  of  the  courts  having  control  of  testa- 
mentary trusts  ; and  the  income  thereof  shall  be  by  them  ap- 
plied to  the  purchase  of  pictures,  paintings,  and  statuary  for 
said  collection,  always  keeping  in  view  the  purpose  of  obtain- 
ing objects  of  the  highest  skill  and  beauty,  that  they  may  be 
the  source  of  pleasure  and  the  means  of  cultivation  and  refine- 
ment of  the  tastes  of  the  people,  be  pure  in  sentiment,  and 
never  minister  to  vulgarity  and  vice. 

Provided,  however,  that  if  the  principal  should  exceed  the 
sum  of  one  hundred  thousand  dollars,  then  the  excess  over  that 
sum  may  be  used  for  the  purchase  of  works  of  art.” 

In  the  final  codicil  to  the  said  will,  dated  March  7th,  A.  D. 
1890,  the  testatrix  devised  to  the  City  of  Philadelphia,  as  fol- 
lows: 

. . Item.  I give  and  bequeath  to  the  City  of  Philadelphia 
all  my  paintings,  engravings,  statuary,  photographs,  books  of 
art,  and  catalogues  of  various  galleries  in  Europe  and  America. 
Also  my  books  denominated  ‘Dresden  Gallery,’  containing  en- 


IX 


gravings  of  the  paintings  in  the  Dresden  Galleries,  in  Dresden, 
Saxony,  and  all  works  of  art  owned  by  me  at  the  time  of  my 
decease,  in  trust  nevertheless,  to,  for  and  upon  the  following 
uses,  intents  and  purposes,  to  wit:  To  place  the  said  paint- 

ings, statuary,  photographs  and  works  of  art  in  the  posses- 
sion and  under  the  control  of  the  Commissioners  of  Fair- 
mount  Park,  to  be  placed  by  them  in  Memorial  Hall  in  Fair- 
mount  Park,  there,  to  be  preserved  by  them,  and  taken 
care  of  and  kept  in  good  order,  as  the  nucleus  or  foundation 
of  an  Art  Gallery  for  the  use  and  enjoyment  of  the  people. 
The  collection  to  be  kept  together  and  known  and  designated 
by  the  name  of  the  ‘W.  P.  Wilstach  Collection.’  And 
I direct  my  Executors  to  transfer  to  the  Commissioners  of 
Fairmount  Park,  in  like  manner  in  trust,  the  one  other  fourth 
part  of  the  residue  and  remainder  of  the  said  estate  and  estates, 
which  said  sum  shall  be  invested  in  good  and  lawful  securities 
by  the  said  Commissioners  of  Fairmount  Park.  And  the  in- 
terest accruing  therefrom  shall  be  used  for  the  maintenance  of 
said  Art  Gallery,  in  keeping  the  same  in  good  order  and  condi- 
tion and  providing  of  competent  care-takers,  as  may  be  nec- 
essary to  carry  out,  to  its  full  and  complete  extent  and  mean- 
ing, the  design  I have  in  view  in  making  this  devise  and  be- 
quest for  the  founding  and  sustaining  an  Art  Gallery  in  Fair- 
mount  Park  for  the  use  and  enjoyment  and  benefit  of  the 
public.  . . .” 

It  is  certainly  a happy  coincidence  that,  as  anticipated  by  the 
testatrix,  this  collection  should  find  its  first  home  in  the  memo- 
rial building,  which  during  the  Centennial  Exposition,  contained 
the  first  cosmopolitan  art  collection  exhibited  in  this  country. 
How  much  of  artistic  inspiration  America  derived  from  this 
friendly  rivalry  of  nations  need  not  be  here  considered.  Our 


x 


national  art  was  then  in  its  infancy  and  suffered  by  comparison 
with  its  elder  and  more  favored  sisters.  Invigorated  by  the 
stimulus  of  competition  with  the  master-pieces  of  other  lands,  it 
has  since  grown  to  such  sturdy  manhood  as  to  challenge  com- 
parison with  the  best  of  every  clime.  In  this  respect  as  in  many 
others,  America,  to  use  the  apt  words  of  President  Cleveland  at 
the  opening  of  the  Columbian  Exposition,  need  ask  “ no  allow- 
ance on  the  score  of  youth.”  In  a building,  therefore,  inti- 
mately connected  with  the  development  of  American  art,  and 
commemorating  the  first  centenary  of  the  Republic,  this  col- 
lection is  happily  inaugurated.  It  cannot  fail  to  carry  out  the 
noble  purpose  of  its  donors,  “to  be  the  source  of  pleasure  and 
the  means  of  cultivation  and  refinement  of  the  tastes  of  the 
people.”  In  a community,  world  famous  for  its  great  material 
interests,  it  will  teach  the  infinite  utility  of  beauty.  Genera- 
tions unborn  will  honor  its  donors  and  draw  artistic  inspiration 
from  their  noble  gift.  This  is  their  monument,  serving  to  per- 
petuate the  memory  of  their  philanthropy  and  public  spirit  to 
the  after  ages.  May  it  be  constructed  by  those,  to  whom  the 
trust  is  confided,  in  the  spirit  of  Ruskin,  whose  great  message  to 
men  was  the  high  moral  purpose  of  art,  “When  we  build,  let 
us  think  that  we  build  forever.  Let  it  not  be  for  the  present 
delight  nor  the  present  use  alone ; let  it  be  such  work  as  our 
descendants  will  thank  us  for  and  let  us  think,  as  we  lay  stone 
on  stone,  that  a time  is  to  come  when  these  stones  will  be  held 
sacred  because  our  hands  have  touched  them  and  that  men  will 
say  as  they  look  upon  the  labor  and  wrought  substance  of  them  : 
‘See,  this. our  fathers  did  for  us.’” 


NOTE. 

The  walls  are  lettered  consecutively  from  left  to  right. 
Pictures  with  their  respective  numbers  will  be  found  in  the 
section  marked  by  the  letter  designated  in  the  Catalogue. 

ABBREVIATIONS. 

N.  A.,  National  Academician. 

A.  N.  A.,  Associate  of  the  National  Academy. 

R.  A.,  Royal  Academician. 

A.  R.  A.,  Associate  of  the  Royal  Academy. 

N.  A.  D.,  National  Academy  of  Design. 

E.  U.,  Exposition  Universelle. 


Cbe  M.  p.  Milstacb  Collection 


PAINTINGS. 

ACHENBACH  (Andreas)  Dusseldorf. 

Born  at  Hesse  Cassel,  1815. 

Pupil  of  Schirmer. 

Medals,  1839-55-67. 

Legion  of  Honor,  1864. 

Knight  of  the  Order  of  Leopold. 

Member  of  the  Berlin,  Antwerp,  and  Amsterdam  Academies. 

His  earlier  pictures  are  scenes  in  the  Rhine  countries.  Widened 
his  range  by  travelling  extensively  between  the  years  1832  and  1846. 
Painted  a large  number  of  German  and  Norwegian  landscapes,  treat- 
ing mountain,  forest  and  sea  with  like  ability  and  power. 


1.  Mill  in  Westphalia. — Storm  Approaching  ...  Sec.  C 

42%  x 18K.  Dated  1864. 

2.  Landscape Sec.  C 

21  x 18K.  Dated  1868. 

ACHENBACH  (Oswald)  Dusseldorf. 

Born  at  Dusseldorf,  1827. 

Pupil  of  his  brother,  Andreas. 

Medals,  1859-61-63. 

Legion  of  Honor,  1863. 


Visited  the  Bavarian  Alps  at  an  early  period.  Went  to  Switzerland 
and  Italy  in  1845,  ’5°,  *51.  His  conception  of  nature  is  more  ideal  than 
his  brother’s.  His  representations  of  peculiar  atmospheric  effects 
and  of  Southern  scenery  are  very  successful. 

3.  Street  Scene,  Naples Sec.  C 


42  x 48^. 


14 


THE  W.  P.  WILSTACH  COLLECTION. 


AMBERG  (Wilhelm)  Berlin. 

Born  in  Berlin,  1822, 

Pupil  of  Herbig,  the  Berlin  Academy,  Karl  Begas,  and  Leon  Cogniet  (Paris). 

Member  of  Berlin  Academy,  1869. 

4.  Contemplation Sec.  A 

23  X 28 % 

BAUGNIET  (Charles)  Paris. 

Born  in  Brussels,  1814. 

Pupil  of  J.  Paelwick  and  M.  F.  Williams. 

Member  of  Ghent  Academy  in  1836. 


Appointed  designer  to  the  King  of  Belgium,  1841. 

Order  of  Leopold,  1843,  Officer,  1872. 

Order  of  Isabel  the  Catholic  of  Spain. 

Order  of  Blanche  Ernstein  of  Saxony. 

Order  of  Christ  of  Portugal. 

A lithographer  of  great  facility,  as  well  as  painter.  Baugniet  is 
said  to  have  drawn  directly  on  stone  from  nature  more  than  three 
thousand  portraits  in  Belgium  and  fifteen  hundred  in  England. 


5.  The  Joy  of  the  House Sec.  N 

6x8. 

BEARD  (W.  H.)  New  York. 

Born  in  Ohio,  1825.  Died  1892. 

Visited  Europe,  1857. 

Elected  N.  A.  in  1862. 

6.  Rabbits  and  Dog Sec.  M 

14  x 12.  Dated  1863. 


7.  Grey  Squirrel Sec.  M 

9x6.  Dated  1863. 

7 

BECKER  (Carl)  Berlin. 

Born  in  Berlin,  1820. 


Pupil  of  Von  Klober,  Hess  and  Cornelius. 

Medals,  Berlin,  Vienna  and  Munich. 

President  and  Professor  of  Academy,  Berlin. 
Member  of  Academies,  Berlin  and  Vienna. 

Member  of  Royal  Society  Letters  and  Fine  Arts  of  Belgium. 
Officer  of  Leopold. 

Medal  1861. 


BURNING  TARES  IN  A WHEATFIELD.— JULES  BRETON. 


LIBRARY 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


17 


His  pictures  are  painted  broadly  and  with  a free  hand,  his  sub- 
jects being  generally  chosen  from  the  times  of  the  Venetian  and 
German  Renaissance,  for  the  opportunity  they  offer  in  making  rich 
effects  and  combinations.  Painted  the  well  known  picture  of 
“ Othello  recounting  his  Exploits.” 

8.  The  Count’s  Birthday Sec.  D 

56x43^.  Dated  1869. 

BIRCH  (Thomas)  Philadelphia. 

Born  in  England,  1779.  Died,  Philadelphia,  1851. 

Came  to  America  in  1793. 

Painted  portraits  in  Philadelphia  until  1807,  when  a visit  to  the 
Capes  of  Delaware  turned  his  attention  to  marine  painting.  Dur- 
ing the  war  of  1812  and  later,  produced  many  pictures  illustrating 
the  naval  battles  and  victories  of  the  United  States. 

9.  Scene  on  Coast  of  Scotland Sec.  N 

24  x 17.  Dated  1849. 


BLAUVELT  (C.  H.) 


Philadelphia. 

$ i 


Born  New  York,  1824. 

Pupil  of  the  National  Academy  and  of  Charjes  L.  I?lll6t.^t 
Professional  life  passed  in  New  York  and  Philadelphia.  - • . , .. 

Elected  N.  A.  in  1859. 

Member  of  Pennsylvania  Academy,  1864- 

10.  The  Lost  Child Sec.  E 


BONFIELD  (George  R.)  Philadelphia. 

11.  River  Scene. — A Calm Sec.  M 

36  x 24.  Dated  1854. 

12.  The  Wreckers. — A Coast  View Sec.  M 

17  x 12.  Dated  1855. 

BOUTELLE  (D.  W.  C.)  Bethlehem,  Pa. 


Born  New  York,  1820.  Died  1884. 

Associate  of  the  National  Academy,  1853. 

Member  of  the  Pennsylvania  Academy  of  the  Fine  Arts,  1862. 
Painted  a large  portrait  of  Asa  Packer  for  Lehigh  University. 


18 


THE  W.  P.  WILSTACH  COLLECTION . 


13.  Lehigh  Valley,  from  Mt.  Rogers,  with  Bethlehem  in  the  dis- 


tance   Sec.  N 

50x40.  Dated  1861. 

14.  Fish  Trap  on  the  Lehigh  River.  Sec.  N 

22  x 22. 

15.  June  Scene  near  Bethlehem,  Pa Sec.  P 

32  x 24. 


BRETON  (Jules)  Paris. 

Born,  Courrieres,  1829. 

Pupil  of  Devigne  and  Drolling. 

Medals,  1855-57-59-61. 

Medals,  London,  Vienna  and  Brussels. 

Legion  of  Honor,  1861. 

Medal  of  the  First  Class  and  Officer  Legion  of  Honor  E.  U.,  1867. 

Medal  of  Honor,  Salon,  1872. 

Knight  of  the  Order  of  Leopold,  1881. 

Ribbon  of  St.  Stanislaus  of  Russia. 

Corresponding  member  of  the  Academies  of  Vienna,  Stockholm,  Madrid. 

Member  of  the  Institute  of  France,  1886. 

Strong  drawing  and  technique,  fine  color  and  composition, 
directed  by  a man  of  thought  and  of  most  tenderly  sympathetic 
and  poetic  feeling.  In  1878,  Victor  Hugo  wrote  Breton,  who  was 
litterateur  as  well  as  artist:  “To  be  twice  a poet;  to  be  like  Lamar- 
tine and  also  like  Corot;  to  be  by  the  strophe  and  by  the  palette; 
this  is  given  to  you,  Monsieur.  I thank  you  for  your  charming 
book,  and  I send  you  double  plaudits.”  Five  years  later,  after 
Breton’s  Jeanne  was  published,  Gambetta  writes  him:  “I  have 
read  your  works,  I have  seen  them,  and  I cannot  tell  even  to  you  if 
it  is  the  poet  or  the  painter  that  most  deeply  touched,  affected,  con- 


quered and  fascinated  me.” 

16.  Burning  Tares  in  a Wheatfield Sec.  F 

53  x 38.  Dated  1868. 

17.  Tired  Out  Sec.  D 


12 lA  x 16.  Dated  1868. 


17i 


TIRED  OUT.— JULES  BRETON. 


LIBRARY 

OF  THE 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


21 


BRION  (Gustave)  Paris. 

Born  at  Rotham,  Alsace,  1824.  Died  in  Paris,  1877. 

Pupil  of  Geurin. 

Medals,  1853-59-61-63-67. 

Legion  of  Honor,  1863. 

Grand  Medal  of  Honor,  1868. 

Chevalier  of  the  Order  of  Leopold. 

Jules  Breton  writes : “ Gustave  Brion  was  a man  of  average  but 
admirably  balanced  endowments.  He  designed  with  ease,  and  was 
well  acquainted  with  the  technique  of  his  art.”  .... 


18.  Reading  the  Bible  in  the  Family 


47  x 43.  Dated  1870. 


CABANEL  (Alexander) 


Born  Montpellier,  1823.  Died,- *888.  j ■ } ' Y V* 
Pupil  of  Picot. 

Prize  of  Rome,  1845. 

Medals,  1852,  E.  U.,  1855. 

Legion  of  Honor,  1855. 

Member  of  the  Institute  of  France,  1863. 

Officer  of  the  Legion  of  Honor,  1864. 

Grand  Medal  of  Honor,  1865  and  E.  U.,  1867. 

Commander  of  the  Legion  of  Honor,  1878. 

Grand  Medal  of  Honor,  E.  U.,  1878. 

Professor  in  the  Ecole  des  Beaux  Arts. 


Sec.  P 


Paris. 

r 


A strong  draughtsman  and  a manner,  if  somewhat  conventional, 
exceedingly  refined  and  distinguished.  Painted  previous  to  1861  in 
the  style  of  David,  but  later,  feeling  more  the  influence  of  the 
modern  world  around  him,  produced  his  greatest  works.  During 
the  Third  Empire,  painted  many  portraits,  his  manner  lending  itself 
particularly  to  the  painting  of  aristocratic  and  graceful  court  ladies. 
His  celebrated  “ Birth  of  Venus  ” is  at  the  Luxembourg. 


19.  Contemplation 


44  x 36.  Dated  1868. 


Sec.  F 


CAILLE  (Leon) 


20.  The  Dead  Bird 


6x9.  Dated  1863. 


Sec.  F 


22 


THE  W.  P.  WILSTACH  COLLECTION. 


CASTAN  (Edmund)  Paris. 

21.  The  Youthful  Navigator  ...  Sec.  F 

6x8.  Dated  1861. 

CLAYS  (Paul  Jean'  Brussels. 

Born  Bruges,  1819. 

Pupil  of  Gaudin. 

Medal  Brussels,  1851. 

Medal  E.  U.,  1867. 

Legion  of  Honor,  1875. 


Chevalier  of  the  Order  of  Leopold. 

Medal,  E.  U.,  1878. 

Officer  of  Legion  of  Honor,  1881. 

“ For  a long  time  the  sea,  or  rather  the  water,  has  had  no  in- 
terpreter more  exact  than  Clays;  he  knows  its  clearness,  and  he 
knows  how  to  render  the  little  noisy  waves  all  bathed  in  light.” — 


Rene  Menard , L ’ Art , 1876. 

22.  Marine  View Sec.  O 

42%  x 29.  Dated  1870. 

23.  Marine  View Sec.  H 

16  x 11. 

COROT  (J.B.)  Paris. 


Born,  Paris,  1796.  Died,  Paris,  1875. 

Pupil  of  Michallon  and  Victor  Bertin. 

Medals,  1833-48-55-67,  E.  IJ. 

Legion  of  Honor,  1846. 

Officer  of  Legion  of  Honor,  1867. 

Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878. 

A life  of  great  usefulness  and  beauty.  Useful,  in  that  he  so 
markedly  filled  a place  in  the  great  modern  impulse  of  art  and  per- 
petuated that  which  he  found,  the  spirit,  the  depths  of  atmosphere, 
the  light,  the  movement,  the  exquisite  feeling  of  pulsating  nature, 
particularly  when  the  dawning  or  the  fading  of  the  day  softens 
sharp  detail  into  more  tender  harmony.  “This  poetical  perfume  is 
a personality  and  supersedes  the  necessity  of  signature”  writes 
Rene  Menard.  Beautiful,  in  that  “ Pere  Corot”  gave  the  benefit  of 
his  experience  and  large  income  to  those  about  him,  especially  to 
his  struggling  contemporaries. 


READING  THE  BIBLE  IN  THE  FAMILY.— GUSTAVE  BRION. 


library 


Of  THE 

UNIVERSITY  of  IUHWW 


THE  W.  P.  WILSTACH  COLLECTION. 


25 


24.  Landscape Sec.  H 

19  x 12. 

CROPSEV  (J.  F.)  Rome. 


Bom,  Staten  Island,  1823. 

Honorary  Member  Pennsylvania  Academy  of  the  Fine  Arts. 

Medal,  Centennial  Exhibition,  1876. 

Studied  two  years  in  Italy. 

Seven  years  in  London. 

Member  American  Water  Color  Society  and  Artists’  Fund  Society,  New  York. 

25.  View  near  Rome . . Sec.  P 

40  x 27.  Dated  1847. 


DARLEY  (Mrs.  Jane  Sully) 

V fi  A,  i 

26.  Tuscan  Woman : . 

3 f -i* 

VT350 
7 • * 

DAUBIGNY  (Charles  Francois) 


Philadelphia. 
....  Sec.  P 

Paris. 


Born,  Paris,  1817.  Died.  Paris,  1878. 

Pupil  of  P.  Delaroche. 

Exhibited  at  nearly  every  Salon,  after  1838. 
Medals.  1848-53-55-57-59-69. 

Legion  of  Honor,  1859. 

Officer  of  the  Legion  of  Honor,  1874- 
Diploma  to  the  memory  of  deceased  artists,  E.  U.t  1878. 


One  of  the  famous  group  of  Barbizon  painters,  Daubigny  has 
made  the  river  scenery  of  central  France  world  famous.  Light,  air, 
and  color  were  studied  from  the  floating  studio  he  had  constructed 
and  when  the  clear  day  was  slowly  fading  into  the  night  his  mind 
became  exceedingly  keen  and  appreciative  “The  art  of  this  illus- 
trious master,”  writes  Edmond  About,  “ consists  in  choosing  well  a 
bit  of  country,  and  painting  it  as  it  is,  enclosing  in  its  frame  all  the 

simple  and  naive  poetry  which  it  contains How  willingly 

would  we  sojourn  in  that  one,  beside  that  fresh  water,  where  the 
cows  take  their  evening  bath ! Night  falls,  the  thrushes  send  forth 
their  last  cry,  the  nightingale  begins  to  sing.” 


27.  Landscape 


30  x 18.  Dated  1868. 


Sec.  C 


28.  Twilight  Effect  Sec.  N 

27  x 16.  Dated  1865. 


26 


THE  W.  P.  WILSTACH  COLLECTION 


DE  COCK  (Caesar)  Paris. 

Born  at  Ghent,  Belgium,  1823. 

Landscape  Painter. 

Medals,  1867-69. 

“Csesar  de  Cock  has  a sort  of  juvenile  passion  for  the  apres 
saveurs  and  the  exquisite  freshness  of  the  springtime.  He  loves 
the  depths  of  the  woods,  the  verdant  thickets  in  the  month  of  May, 
the  copses  which  put  forth  in  the  month  of  April.  He  renders  with 
extreme  skill  the  downy  softness  of  the  young  shoots,  the  unde- 
cided form  of  the  bushes,  only  half  clothed  with  their  new  leaves, 
the  multitude  of  young  stalks  which  encumbered  the  coppices,  the 
shadowed  parts  through  which  one  can  sometimes  get  glimpses  of 
light.” — Ernest  Duvergier  de  Hauranne , Revue  dies  Deu.v 


Mondes,  June,  1872. 

29.  Landscape Sec.  C 

29  x 17.  Dated  1870. 

30.  The  Brook  Canal,  a Scene  in  Belgium Sec.  N 

28  x 20.  Dated  1869. 

DECAMPS  (Alexandre  Gabriel)  Paris. 


Born  at  Paris,  1803.  Died,  i860. 

Pupil  of  Pujol. 

Medals,  1831-34. 

Legion  of  Honor,  1839. 

Officer  of  the  Legion  of  Honor,  1851. 

“The  distinctive  qualities  of  Decamps,”  writes  Hamerton,  “ irtay 
be  very  briefly  enumerated.  He  had  deep  pathos  and  poetry,  and 
was  profoundly  moved  by  a certain  kind  of  roughness  and  wildness 
in  nature  and  in  men;  he  was  a powerful  and  masterly  colorist, 
and  his  painting  is,  in  its  way,  as  excellent  as  it  is  original.”  Of 
his  academic  study,  Decamps  tells  us;  “I  was  received  in  the  atelier 
of  M.  Abel  de  Pujol.  I worked  willingly  at  the  beginning.  Un- 
fortunately my  master,  who  was  kind  and  indulgent,  and  absorbed 
in  his  own  labors,  was  little  qualified  to  make  me  understand  the 
utility  and  importance  of  studies  which  to  me  seemed  little  less 
than  monotonous.  I took  a dislike  to  the  work  and  quitted  the 
atelier;  I tried  at  home  some  little  pictures,  they  were  bought  and 
my  education  as  a painter  was  missed.”  In  the  Chefs  d’  Ifcole,  M. 


WILL  YOU  BUY  MY  FLOWERS  ?— MEYER  VON  BREMEN. 


LIBRARY 


UNIVERSITY  «f  UUN®'* 


THE  W.  P.  WILSTACH  COLLECTION.  29 

Chesneau  describes  Decamps  “as  a soul  profoundly  sad  . ...  he 
lived  with  the  crushing  certainty  that  he  had  not  expressed  what 
was  in  him;  he  died  with  the  conviction  of  having  left  his  work 
undone.” 

31.  Street  Scene  . Sec.  N 

6!4  x 9. 


DELESSORD. 

32.  Evening. — Sheep  Driven  Home Sec.  H 

14 v*  x 11  y2. 


DE  NOTER  (David) 

33.  Fruit  and  Flowers 


Y ft  Wi  , 

jo 

******  nu 


Antwerp. 
. Sec.  E 


DIAZ  (N.  V . ) Paris. 

Born  at  Bordeaux,  1807.  Died,  Mentone,  1876. 

Medals,  1844-46-48. 

Legion  of  Honor,  1851. 

Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878. 

Born  of  Spanish  parentage,  this  landscape  and  figure  painter, 
though  a faulty  draughtsman,  had  the  glow,  splendor  and  the  fire 
of  the  South.  At  the  age  of  fifteen  years  he  left  the  porcelain 
manufacturer,  to  whom  he  had  been  apprenticed,  to  go  to  Paris, 
there,  although  extremely  poor  and  crippled  by  the  loss  of  a leg,  to 
enter  the  arena  of  life.  Success  crowned  his  efforts  to  a large  de- 
gree and  with  a lavish  hand  he  dispensed  that  which  he  made  to 
those  in  need  and  distress.  It  was  in  the  forest  of  Fontainebleau 
with  its  majestic  oaks,  deep  recesses,  and  gleams  of  sunlight,  that 


Diaz  found  his  greatest  inspiration. 

34.  Forest  of  Fontainebleau  Sec.  C 

42K  x 32.  Dated  1867. 

35.  Figure Sec.  E 

6 y2  x 11. 


BO 


THE  W.  P.  WILSTA CH  COLLECTION. 


DUNCAN  (E.)  London. 

Born,  London,  1804. 

Engraver  and  Painter. 

One  of  the  original  members  of  the  New  Society  of  Painters  in  Water  Colors. 

36.  Coast  Scene,  Fishermen Sec.  H 

18  x 12.  Dated  1850. 


DUPRE  (Jules)  Paris. 

Born  at  Nantes,  1812.  Died,  1889. 

Debut  at  the  Salon,  1831. 

Medal,  Paris,  1833. 

Legion  of  Honor,  1849. 

Medal  Exposition  Universelle,  1867. 

Officer  of  the  Legion  of  Honor,  1870. 

It  was  in  the  early  winter  of  1889,  that  the  last  of  the  great 
school  of  nature’s  interpreters,  born  between  1807  and  1817,  passed 
away.  As  a great  marine  as  well  as  landscape  painter,  his  range  is 
very  extensive.  His  productions  are  full  of  nature,  his  style  direct, 
sincere  and  strong 

37.  Landscape. — Sunset Sec.  N 

26  V2  x 19. 


E.  L.  (?) 

38.  Children  Looking  Over  a Wall Sec.  M 

9 'A  x 5%. 

FRERE  (Theodore)  Paris. 


Born  at  Paris,  1815.  Died,  1888. 

Pupil  of  Cognietand  Roqueplan. 

Medals,  1848-65. 

Exhibited  first  picture  in  1834.  In  1836  took  part  in  the  Algerian 
Expedition  and  afterwards  spent  some  time  in  Egypt;  his  pictures 
are  generally  Eastern  scenes  and  customs. 

39.  Arab  and  Camel Sec  E 


13  x 9lA. 


CONTEMPLATION.— ALEXANDRE  CABANEL. 


LIBRARY 


Of  IH£ 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


33 


FROMENTIN  (Eugene)  Paris. 

Born  at  La  Rochelle,  1820.  Died  1876. 

Pupil  of  Cabat. 

Medals,  184.9-57-59-67. 

Legion  of  Honor,  1859. 

Officer  of  the  Legion  of  Honor,  1869. 

Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878. 

A master  of  two  distinct  modes  of  expression,  that  of  the  brush 
and  of  the  pen.  His  pen  pictures  of  African  travel,  his  criticisms 
of  the  old  masters  of  Holland  and  Belgium,  shine  forth  in  a nation 
of  literary  lights,  famous  for  their  descriptive  and  critical  work. 

His  brush  pictures  have  a deep  and  pure  appreciation,  a delicacy  of 
treatment  that  brought  him  speedily  to  the  front  rank  of  great 
French  painters.  One  is  amply  compensated  for  the  slight  faulti- 
ness of  drawing,  the  result  of  insufficient  academic  training,  by  the 
comprehensive  grasp  of  his  subject,  the  glowing  color  and  poetic 
feeling. 


40.  Arabs  on  Horseback \ ; . . 

, , / r*7  vj. 

16  x q'A:  ...  . .... 

2*c'Ar: .a  *■  h v*  <■ 


Sec.  E 


r.i 


GEROME  (Jean  Leon)  Paris. 

Born  at  Vesoul,  1824. 

Pupil  of  Delaroche. 

Medals,  1847-48-55. 

Legion  of  Honor,  1855. 

Member  of  the  Institute  of  France,  1865. 

Honorary  Member  R.  A.,  London. 

One  of  the  eight  Grand  Medals  of  Honor,  1867. 

Officer  of  the  Legion  of  Honor,  1867. 

Grand  Medal  of  Honor,  1874. 

Commander  of  the  Legion  of  Honor,  1878. 

Medal  Sculpture,  1878. 

Grand  Medal  of  Honor,  1878. 

Professor  of  the  Ecole  des  Beaux  Arts. 

Probably  the  most  popular  of  modern  artists.  Certainly  few  have 
reaped  so  great  a reward  for  conscientious  labor,  with  the  unim- 
paired ability  to  enjoy  and  profit  by  it,  as  has  been  granted  to 
Gerome.  In  most  of  the  art  galleries  and  private  collections  of  the 
world  his  pictures  are  to  be  found  and  honors  of  every  kind  have 


34 


THE  W.  P.  WILSTACH  COLLECTION. 


been  showered  upon  this  wonderfully  accomplished  and  even  work- 
man, this  superb  draughtsman,  scholarly  thinker,  sculptor  as  well 
as  painter. 


41.  An  Arnaut 


IO  X 14. 


Sec.  D 


GIFFORD  (Robert  Swain)  New  York. 

Born  Naushon  Island,  Massachusetts,  1840. 

Studied  under  Albert  Van  Beest. 

Studio  in  Boston,  1864,  in  New  York  after  1866. 

Made  sketching  tours  in  California  and  Oregon,  1869  and  in  Europe  and  North 
Africa  in  1870-71  and  again  in  1874-75. 

Elected  A.  N.  A.  in  1870. 

Elected  N.  A.  in  1878. 

Medal  for  oil  painting  at  the  Centennial  Exhibition,  1876. 

One  of  the  founders  of  the  American  Water  Color  Society,  1866. 

Awarded  $2,500  prize  at  the  First  Prize  Fund  Exhibition,  New  York,  1885. 

42.  Our  American  Cousin Sec.  M 

1 

10  x 7.  South  Carolina,  i860. 


GIROUSE  < Achille) 


43.  Horse  and  Dog  Sec.  H 

16  x 12. 

GRAEB  (Prof.  Karl)  Berlin. 


Born  at  Berlin,  i8i6,  Died  1884. 

Pupil  of  Gerst  and  Berlin  Academy. 

Painter  to  the  Court,  1851. 

Great  Gold  Medal,  1854. 

Professor  of  Berlin  Academy,  1855. 

Member  of  Berlin  Academy,  i860. 

Member  of  Amsterdam  and  Vienna  Academies. 

44.  Market  Place,  Leitmeritz,  Bohemia Sec.  P 

20K  x 27^. 


MARINE  VIEW.— PAUL  JEAN  CLAYS. 


LIBRARY 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


37 


GUDE  (Hans  Frederick)  Carlsruhe. 

Born  at  Christiania,  1825. 

Pupil  of  Andreas  Achenbach  and  of  Diisseldorf  Academy  under  Schirmer. 

Professor  Diisseldorf  Academy,  1854. 

Professor  Carlsruhe  Art  School,  1864. 

Professor  Berlin  Academy  since  1880. 

Member  Amsterdam,  Rotterdam,  Stockholm,  Berlin  and  Vienna  Academies. 

Great  Gold  Medal  in  Berlin,  1852  and  i860,  and  at  Weimar,  1861. 

Medals,  Paris,  1855-61-67. 

45.  Norwegian  Sunset  Sec.  F 

46 lA  x 31.  Dated  1851. 


HAMILTON  (James)  Philadelphia. 

Born  in  Ireland,  1819.  Died  1878. 

He  came  to  America  as  a child,  studied  in  Philadelphia  and  spent 
1854  and  1855  in  London.  After  his  return  <tM$#laidelphia  he  fur- 
nished illustrations  for  Dr.  Kane’^jArctic  E&^ldtations  and  other 
works.  Professional  life  passed  in"  Pnrlatl&phidl'. T * PR  } V • ,• 

46.  Moonlight  at  Sea . Sec.  M 

41  x 28.  Dated  1862. 


HETZEL  (George)  Pittsburgh,  Pa. 

Born  Alsace, 1826. 

Studied  in  Diisseldorf. 

Medal,  Centennial  Exhibition,  1876. 


47.  Lake  Ducks Sec.  N 

30  x 38.  Dated  1864. 

48.  Shady  Brook Sec.  P 

30  x 20.  Dated  1867. 


HOGUET  (C.)  Berlin. 

Born  in  Berlin,  1821.  Died  Berlin,  1870. 

Landscape,  genre  and  marine  painter. 

Pupil  of  Knaus  and  in  Paris  of  Ciceri. 

Went  in  1841  to  England  and  in  1842  studied  again  in  Paris  under  Isabey. 

Gold  Medals  in  Paris  1848  and  in  Berlin. 

Member  of  Berlin  Academy  in  1869. 


38 


THE  W.  P.  WILSTACH  COLLECTION . 


49.  Interior  and  Figures 

9V2  x 63A. 


Sec.  G 


JACQUE  (Charles  Emile)  Paris. 

Born  in  Paris,  1813. 

Medals,  1861-63-64. 

Legion  of  Honor,  1867. 

A celebrated  etcher  as  well  as  painter,  Jacque  was  very  promi- 
nent in  the  revival  of  etching.  Specimens  of  his  work  are  now 
eagerly  sought  for  and  large  sums  paid  for  what  originally  brought 
but  a few  francs.  And  remark,  that  they  are  always  the  same  ” 
this  great  artist  has  been  known  to  say.  As  painter  his  greatest 
works  are  of  the  farmyard,  and  the  sheep,  pigs  and  poultry  which 
he  bred  and  so  thoroughly  studied  and  appreciated,  have  brought 
widely  extended  fame  to  their  owner. 

60.  Landscape  with  Sheep  Grazing Sec.  G 

9 V2  X 6lA. 


KENSETT  (J.  F.)  New  York. 

Born  in  Connecticutt,  1818.  Died  New  York,  1872. 

Studied  engraving  under  Haggett  and  spent  seven  years  abroad,  from  1840  to  1847. 

First  exhibited  at  the  Royal  Academy,  London,  1843. 

Elected  N.  A.  in  New  York  in  1849. 

Professional  life  passed  in  New  York. 

In  1859  appointed  member  of  the  commission  to  superintend  the  decorations  of 
the  Capitol  at  Washington. 

51.  Hill  and  Valley,  Sunrise Sec.  C 

22  x 18.  Dated  1851. 


KRIEGHOFF  (C)  Quebec. 

52.  Canadian  Winter  Scenery Sec.  P 

36  x 24.  Dated  1853. 

53.  Landscape Sec.  M 

24  x 16. 


LANDSCAPE,— J.  B.  COROT. 


LIBRARY 

UNI^snyHohumis 


THE  W P.  WILSTACH  COLLECTION. 


41 


LAMBDIN  (CeorgeC.)  Philadelphia. 

Born  in  Pittsburgh,  Pa.,  1830. 

Studied  with  his  father  and  in  Munich  and  Paris. 

National  Academician,  1868. 

Professional  life  passed  in  Philadelphia  with  the  exception  of  two  years. 

1868-70  in  New  York. 

His  picture  entitled  “The  Dead  Wife”  was  selected  by  the  com- 
mittee as  an  exhibit  for  the  Paris  Exposition  of  1867.  Painted  many 
portraits  and,  having  a love  of  roses  and  a deep  interest  in  their 
cultivation,  had  always  dainty  subjects  at  hand  for  study  and  exhi- 
tion. 


54.  The  New  Knife Sec.  E 


10  x 13.  Dated  1866. 


LEIKERT  (J.) 


. . 


56.  Coast  Scene  in  Holland 

24  x 18.  Dated  1859. 


Sec.  N 


LESSING  (C.  F.)  Carlsruhe. 

Pupil  of  the  Berlin  Academy  and  of  Schadow. 

In  1826  went  to  Dusseldorf,  where  he  rapidly  advanced. 

In  1830  became  Director  of  the  Dusseldorf  Academy  and  exercised  a 
great  influence  over  the  Dusseldorf  school. 

Director  of  the  Carlsruhe  Gallery,  1858. 

Member  of  the  Berlin  Academy,  1832. 

Knight  of  the  Order  of  Merit. 

Medal,  Paris,  First  class,  1837. 

Grand-nephew  of  the  famous  G.  E.  Lessing,  his  first  exhibits  in 
Berlin,  1828  and  1830,  were  received  with  great  interest.  These 
were  followed  by  series  of  historical  paintings.  His  “Sermon 
of  the  Hussites”  gained  him  honors  in  Paris  but  created  much  con- 
troversy at  home,  where  the  story  of  Huss  excited  very  diverse 
feeling.  It  was  followed  by  others,  however,  the  “ Martyrdom  of 
Huss,”  etc. 

56.  Landscape,  with  Jesuit  Monks Sec.  H 

68  x 45.  Dated  1869. 


42 


THE  W.  P.  WILSTACH  COLLECTION. 


57.  Repentant  Robber  and  Boy 

19x16^.  Dated  1832. 


Sec.  P 


LEU  (August)  Dusseldorf. 

Born,  Munster,  1818. 

Pupil  of  Academy  under  Schirmer. 

Visited  Norway,  Switzerland,  Italy  and  the  Tyrol. 

Settled  in  Dusseldorf,  but  in  1882  removed  to  Berlin. 

Member  Berlin,  Vienna,  Amsterdam  and  Brussels  Academies. 

Royal  Professor. 

Gold  Medals  in  Berlin. 

Belgian  Order  of  Leopold. 

58.  The  Mountain  Torrent  . . . Sec.  A 

69  x 48.  Dated  1869. 


LEUTZE  (E.) 

Born  at  Gmiind,  Wiirtemburg,  1816.  Died,  Washington,  1868. 

Brought  to  America  when  a child  by  his  parents  and  lived  in  Philadelphia. 
Studied  there  and  in  1841  went  to  Dusseldorf  to  study  under  Lessing. 

Also  studied  in  Munich,  Vienna  and  Rome. 

Settled  in  America  in  1859,  living  alternately  in  New  York  and  Washington. 
Elected  N.  A.  in  i860. 

His  large  picture  “ Westward  the  Star  of  Empire  takes  its  Way,” 


is  at  the  Capitol,  Washington. 

59.  Oliver  Cromwell  and  his  Daughter Sec.  C 

24  x 40.  Painted  at  Dusseldorf,  1843. 

LEYS  (Baron  Henri)  Antwerp. 


Born  1815.  Died  1869. 

Pupil  of  his  brother-in-law,  F.  de  Braekeleer  and  of  Antwerp  Academy  under 
Wappers. 

Great  Gold  Medal,  Brussels,  1835.  1 

Paris,  1855  and  1867. 

Order  of  Leopold,  1840. 

Officer,  1856. 

Commander,  1867. 

Legion  of  Honor,  1862. 

Made  Baron,  1862. 

Member  of  the  Brussels  Academy,  1845. 


LANDSCAPE.— CHARLES  FRANCOIS  DAUBIGNY. 


library 

UNIVERSITVof  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


45 


“ The  genius  of  Baron  Leys,  however,  is  of  so  diversified  a char- 
acter that  he  can  mould  it  into  any  form,  and  adapt  it  to  any  pur- 
pose,—to  the  humorous  or  the  pathetic,  to  the  grandeur  of  history 
or  the  incidents  of  ordinary  social  life;  and  his  pencil  portrays,  with 
equal  truth,  vigor  and  delicacy,  the  art  of  an  age  long  passed  away, 
and  that  of  his  own  time.” — James  Dafforne , Art  Journal , July, 

1866. 

60.  The  Order  of  the  Guard Sec.  C 

28  x 21.  Dated  1867. 


MARTIN  (W.  A.  K.)  Philadelphia. 

61.  Bruce  Defending  the  Pass  at  Dalrey Sec.  P 

36  x 30.  Dated  1853. 

'f 

MAX  (Gabriel)  *9.  , Mu nlch. 

Born  at  Prague, 

Pupil  of  the  Prague  and  Vienna  Academies  and  of  Piloty. 

First  exhibited  in  1867. 

Gold  Medals,  Berlin  and  Munich. 

Honorary  Member  of  Munich  Academy. 

Professor  1879-83. 

A man  of  highly  sensitive  organization,  his  earlier  works  were 
efforts  to  give  pictorial  form  to  musical  impressions  received  from 
the  works  of  Beethoven,  Schumann,  Mendelssohn,  Liszt,  and  from 
old  melodies  and  hymns.  These  proved  rather  incomprehensible 
and  full  of  strange  imagination  but  very  interesting  and  inventive. 

Of  his  later  works,  “The  Lion’s  Bride”  and  “The  Last  Token” 
are  probably  the  best  known,  the  latter  being  in  the  Metropolitan 
Museum  of  Art,  New  York. 

62.  Ludmilla,  Martyr  to  Religious  Faith Sec.  B 

39  x 35.  Dated  1864. 


ME1SSONIER  (C.)  Paris. 

Son  and  pupil  of  Ernest  Meissonier. 

Medal,  1866. 

Paints  Eighteenth  Century  scenes  in  the  style  of  the  old  Dutch 
Masters. 


46 


THE  W.  P.  WILSTACH  COLLECTION. 


63.  The  Repast Sec.  A 

24  x 29.  Dated  1866. 

MEYER  (Johann  Georg)  (Meyer  von  Bremen)  Berlin. 


Born  at  Bremen,  October,  28,  1813.  Died  1886. 

Pupil  of  Dusseldorf  Academy  under  Karl  Sohn  and  Schadow. 

Member  of  the  Amsterdam  Academy. 

Gold  Medal  of  Prussia,  1850. 

Medals  at  Berlin  and  in  Philadelphia,  1876. 

In  1852  moved  to  Berlin  where  he  became  Professor,  1863. 

From  early  youth  an  ardent  student.  Being  of  marked  religious 
tendencies,  the  young  Meyer  thought  seriously  at  one  time  of  de- 
voting himself  to  missionary  work,  but  the  shock  to  his  broad  and 
liberal  mind  of  hearing  a celebrated  minister  say  that  “ Art  is  an  in- 
vention of  the  Devil  ” and  that  “ religious  pictures  should  be  thrown 
in  the  sea”  determined  him  to  devote  himself  to  art  which  he  felt  to 
be  the  “ handmaid  of  religion.”  His  first  pictures  were  of  religious 
subjects,  and  later  family  life  found  him  at  his  best.  It  is  said  that 
eleven  hundred  pictures  have  left  his  easel,  a proof  of  the  applica- 
. tion  of  the  motto  placed  in  his  studio,  “ Make  the  best  use  of  your 
time;  it  never  returns.” 

64.  Will  You  Buy  My  Flowers? Sec.  H 

16X20K.  Dated  1866. 


MOERENHOUT  (J.  J.) 

Born  near  Antwerp,  1801. 

Landscape  and  Battle  Painter 

Studied  at  Antwerp  Academy  and  in  Paris  under  Horace  Vernet. 


66.  Return  From  the  Chase Sec.  P 

28  x 21.  Dated  1854. 

MOESELAGER  (C.) 

66.  Youthful  Vanity Sec.  G 

15  x 18.  Dated  1861. 


FOREST  OF  FONTAINEBLEAU.— N.  V.  DIAZ. 


LIBRARr 
of  The 

UNIVERSITY1  of  ILLINOIS 


THE  IF  P.  WILSTACH  COLLECTION. 


49 


MORAN  (Edward)  New  York. 

Born  in  England,  1829. 

Came  to  America  in  1844. 

Pupil  in  Philadelphia  of  James  Hamilton  and  Paul  Weber. 

In  London  of  the  Royal  Academy. 

Painted  in  Paris  in  1877-78. 

Elected  A.  N.  A.  in  1873. 

Member  of  the  Pennsylvania  Academy  of  Fine  Arts. 

67.  Castle  Garden,  New  York Sec.  M 

46  x 25. 


MORAN  (Thomas)  New  York. 

Born  in  England,  1837. 

Came  to  America,  1844-  „ v 

Pupil  of  his  brother,  Edward  Moran  , ' 

Between  1862  and  1868  painted  in  England  and  visited"Fran$;  anddtal^.  • 
Accompanied  a Government  expedition  to  the  Yello&Storie  Hatrondl'Park  in  1871. 

Later,  made  sketching  tours  in  Western  Territories  and  Mexico. 

Elected  A.  N.  A.  in  1882,  N.  A.  1884. 

Member  of  the  Society  of  American  Artists. 

Member  of  the  Pennsylvania  Academy  of  Fine  Arts. 

Thomas  Moran  is  represented  in  the  Capitol  in  Washington  by 
his  pictures  “The  Chasm  of  the  Colorado”  and  “The  Grand  Canon 
of  the  Yellowstone.”  Etcher  as  well  as  painter,  Ruskin  said  of  his 
representation  of  a wave  breaking  against  a rock,  “that  is  the  best 


etched  wave  that  I have  ever  seen.” 

68.  The  First  Ship— St.  Salvadore Sec.  P 

46  x 23.  Dated  1855. 

MUNKACSY  (Michael  de)  Paris. 

Born  in  Hungary,  1846. 


Pupil  of  Dusseldorf  Academy. 

Medals,  Paris,  1870-74.  Vienna,  1882. 

Legion  of  Honor,  1877. 

Officer  of  the  Legion  of  Honor,  1878. 

Grand  Medal  of  Honor,  E.  U.,  1878. 

Member  of  the  Munich  Academy,  1881. 

Created  an  Austrian  Baron,  1882. 

Member  of  the  Austrian  Order,  Litteres  et  Artebus,  1887. 


50 


THE  W.  P.  WILSTACH  COLLECTION. 


In  1846,  in  the  village  of  Munkacs,  Hungary,  this  artist  was  born. 
He  lost  his  mother  soon  after  his  birth,  and  his  father,  who  had 
taken  part  in  the  insurrection  of  1848,  died  in  prison.  An  aunt  un- 
dertook the  care  of  the  little  “ Misha”  but  her  house  was  entered 
by  a band  of  robbers,  and  every  one  murdered  with  the  exception  of 
the  helpless  child.  An  uncle  then  assumed  the  guardianship,  but 
being  too  poor  to  educate  the  boy,  apprenticed  him  to  a joiner  as 
soon  as  he  could  handle  a tool.  After  accomplishing  the  hard  day’s 
work  required  of  him,  Munkacsy  at  night  taught  himself  to  read 
and  write.  At  eighteen  he  became  a journeyman  carpenter  and  on 
the  pittance  received,  about  four  dollars  a month,  managed  not  only 
to  support  himself  but  by  abstaining  from  much  needed  food,  pur- 
chased the  necessary  books  to  continue  his  education.  By  reason 
of  these  deprivations  a severe  illness  ensued,  and  on  his  recovery 
his  uncle,  who  was  then  in  better  circumstances,  offered  to  assist 
him  to  become  an  artist,  a career  the  young  man  greatly  desired. 
His  apprenticeship  to  art  again  shows  continuous  struggle,  first  at 
home,  then  in  Germany,  where  a disease  of  the  eyes  forced  him  to 
spend  six  months  in  the  hospital  and  threatened  him  with  total 
blindness.  Yet  it  was  during  this  time  that  the  brave  young 
student,  nothing  daunted,  dreamed  of  and  finally  planned  the  pic- 
ture here  exhibited,  which  even  to-day  he  speaks  of  as  his  master- 
piece. It  illustrates  a custom  in  Hungary,  where  a man,  when 
condemned  to  death,  is  visited  in  his  cell  on  the  day  before  his  ex- 
ecution by  his  townspeople,  who  come  either  out  of  simple  curiosity 
or  to  bring  a contribution  towards  a mass  for  the  criminal’s  soul. 
After  he  had  recovered  the  use  of  his  eyes,  the  picture  was 
commenced,  although  all  advised  the  young  man  to  go  back  to 
his  trade,  the  difficulties  to  be  overcome  as  an  artist  seeming 
insurmountable.  When  the  picture,  which  is  painted  on  the  back 
of  an  old  pew,  was  half  finished,  poverty  prevented  him  from 
obtaining  even  the  necessary  paints.  At  this  time  the  collector  of 
these  pictures,  Mr.  Wilstach,  heard  of  the  young  artist,  and  going 
to  his  studio  instantly  recognized  the  merit  of  his  work.  He  pur- 
chased the  picture  and  paid  for  it  in  advance  that  the  artist  might 
have  the  wherewithal  to  complete  it.  He  then  sent  the  picture  to 
the  Paris  Salon,  where  its  recognition  as  a work  of  extraordinary 
merit  was  instantaneous.  Rarely  has  so  sharp  a contrast  occurred 
in  a human  life  as  then  followed,  for  reputation  and  wealth  came 
rapidly  and  all  Paris  and  then  the  world  delighted  to  honor  this 
vigorous,  intense  and  powerfully  dramatic  painter.  On  a visit  to 


ARABS  ON  HORSEBACK.— EUGENE  FROMENTIN. 


UBK*Rt 


THE  W.  P.  WILSTACH  COLLECTION, 


53 


his  native  land  he  was  received  with  high  honor.  His  great  re- 
ligious pictures,  “ Christ  on  Calvary”  and  “Christ  before  Pilate,” 
subsequently  purchased  by  Mr.  John  Wanamakerof  this  city,  were 
exhibited  throughout  Europe  and  America,  and  inspired  general  and 
profound  admiration.  In  the  generations  to  come,  Michael  Lieb, 
called  from  his  birthplace,  Michael  Munkacsy,  will  be  regarded  as 
the  great  painter  of  scriptural  subjects  of  the  nineteenth  century. 

69.  The  Last  Day  of  the  Condemned Sec.  C 

73K  x 54.  Dated  1870. 

70.  An  Ideal  Head Sec.  F 

5 lA  x 6lA. 

71.  An  Ideal  Head V:?  T^jSec.  F 

5*  x 6lA. 

OTTER  (Thomas)  Philadelphia. 

72.  Moonlight  . Sec.  M 

47  x 26  Da*ed  i860. 


PEALE  (Rembrant)  Philadelphia. 

Born  in  Bucks  County,  Pa.,  1787.  Died  Philadelphia,  i860. 

Pupil  of  Benjamin  West. 

Son  of  Charles  Wilson  Peale,  for  whose  museum  in  Philadelphia 
he  painted  the  portraits  of  European  celebrities.  His  most  noted 
picture  is  a portrait  of  Washington,  which  was  purchased  by  the 
U.  S.  Senate  in  1832.  Exhibited  four  pictures  at  the  Royal  Academy 
London, 1833. 

73.  Colossal  Profile  of  Washington  Sec.  O 

28  x 30.  After  Houdon’s  bust  of  1785. 


PREYER  (J.  W.)  Dusseldorf. 

Born  Rheydt,  near  Dusseldorf,  1805. 

Still  life  painter. 

Pupil  of  Dusseldorf  Academy,  1822-27. 

Visited  Holland,  Venice,  Milan,  Switzerland,  and  the  Tyrol. 

Most  of  his  pictures  are  in  America. 


54 


THE  W.  P.  WILSTACH  COLLECTION. 


74.  Still  Life Sec.  D 

In  the  glass  of  wine,  here  represented,  is  painted  a reflection  of 
Preyer,  said  to  be  executed  by  the  artist’s  daughter,  who  was  her- 
self a painter. 

14  x 16.  Dated  1870. 

PREYER  (Emilie)  Dusseldorf. 


75.  Fruit 


14  x 16.  Dated  1870. 


Sec.  D 


RICHARDS  (William  T.)  Philadelphia. 

Born,  1833. 

Pupil  of  Weber. 

Honorary  Member  National  Academy,  N.  Y. 

Medals,  Philadelphia,  1876,  Temple  Fund,  1885. 

This  conscientious  student'and  lover  of  nature  is  one  of  the  most 
successful  of  American  painters.  His  interpretations  of  the  sea 
especially,  whether  in  water-color  or  oil,  elicit  warm  response  and 
admiration.  Richards  contributes  to  the  various  -exhibitions  of 
our  principal  cities  and  -to  those  of  London  and  Paris.  Repre- 
sented in  the  Corcoran  Gallery,  Washington,  Metropolitan  Museum 
of  Art,  New  York,  and  in  the  Pennsylvania  Academy  of  Fine  Arts. 


76.  Landscape. — Fisher’s  Lane,  Germantown  Sec.  E 

40  x 30.  Dated  1870. 

77.  The  Neglected  Corner  of  a Wheat-field Sec.  G 

12  x 14. 


78.  Mountain  Landscape Sec.  P 

44  x 30.  Dated  1855. 

RICO  (Martin)  Paris, 

Born  in  Madrid, 

Pupil  of  F.  de  Madrazo. 


Studied  in  Paris  and  Rome. 
Medals,  1878. 
Legion  of  Honor,  1878. 


AN  ARNAUT.— JEAN  LEON  GEROME, 


UBRARY 
Of  THt 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


57 


Supported  himself  while  studying  at  Madrid  by  drawing  and  en- 
graving on  wood.  During  the  summer  fostered  his  love  for  nature 
by  wandering  through  the  country,  living  from  hand  to  mouth,  often 
the  companion  of  gypsies,  but  studying  and  absorbing  qualities  that 
proved  the  foundation  of  his  success.  He  won  the  first  Prix  de 
Rome  ever  given  at  Madrid  for  landscape,  which  afforded  him  the 
opportunity  of  four  years’  study  in  either  Rome  or  Paris  and  it  was 
in  the  latter  city,  with  Zamacois,  Meissonier  and  Daubigny  to  en- 
courage him  and  the  American  art  patron,  Mr.  William  Stewart,  to 
advance  his  interests,  that  he  climbed  rapidly  the  ladder  of  fame. 

His  work  in  oil  and  water  colors  is  equally  brilliant,  animated  and 
delicate,  his  pictures  fairly  sparkling  with  crisp,  sunny  effects. 

79.  Landscape Sec.  H 

18  x io. 


RIEFSTAHL  (Wilhelm)  Munich. 

Born  at  Neustrelit^  <Se#h  V- 

Pupil  of  Schrimer  and  Academy  at  Berlin. 

Director,  1875-77. 

Professor  Carlsruhe  Art  School,  1870-73. 

Member  of  the  Berlin  and  Munich  Academies. 

Gold  Medal,  Berlin,  1864,  Vienna,  1873. 

“ He  sees  justly,  feels  profoundly,  and  knows  how  to  express 
what  he  feels.” — Eugene  Miintz. 

80.  Returning  from  the  Christening Sec.  G 

42 'A  x 26^.  Dated  1865. 


ROTHERMEL  (P.  F.)  Philadelphia. 

Born,  Pennsylvania,  1817. 

Visited  Europe,  1856. 

Associate  of  the  Pennsylvania  Academy  of  Fine  Arts. 

Not  a draughtsman,  but  a colorist;  whose  high  aim,  fine  composi- 
tion and  rich  harmonious  schemes  of  color,  have  received  warm 
recognition  not  only  in  America,  but  in  Italy,  France  and  Russia. 

81.  King  Lear  and  Cordelia Sec.  A 

30  x 25. 


58 


THE  W.  P.  WILSTACH  COLLECTION . 


ROUSSEAU  (Philip)  Paris. 

Born,  Paris,  1816. 

Pupil  of  Gros  and  of  Bertin. 

Medals,  1845-48-55-78. 

Legion  of  Honor,  1852.  Officer,  1870. 

In  a letter  to  a friend  in  1869,  Mr.  Wilstach  wrote,  referring  to 
the  picture  here  exhibited:  “Wylie  (the  artist,  Robert  Wylie)  is 
delighted  at  my  buying  the  Rousseau;  he  writes  me  that  he  thinks 
I have  probably  one  of  the  finest,  if  not  the  finest,  still  life  picture 
of  the  modern  French  School.” 

82.  Peaches Sec.  C 

38  x 50K.  Dated  1869. 


SCHLESINGER  (H.  G.)  Paris. 

Born,  Frankford-on-the-Main , 1814. 

Pupil  of  Vienna  Academy. 

Medals,  1840-47. 

Legion  of  Honor,  1866. 

Went  early  in  life  to  Paris  where  he  was  naturalized.  Since  his 
first  exhibition  in  1840,  his  pictures  have  been  received  as  noted 


acquisitions  to  the  Paris  Salon. 

83.  Alone  in  the  Atelier Sec.  A 

28  x 36.  Dated  1868. 

SCHREYER  (Adolphe)  Paris. 


Born  Frankfort-on-the  Main,  1828. 

Medals,  1864-65-67  (E.  U.) 

Brussels  Exposition,  1863. 

Vienna  Exposition,  1873.  Munich,  1876. 

Painter  to^the  Court  of  the  Grand  Duke  of  Mecklenburg-Schwerin,  1862. 

Cross  of  the  Order  of  Leopold,  1866. 

Member  of  the  Academies  of  Antwerp  and  Rotterdam. 

Honorary  Member  of  the  Deutches  Nochstiff. 

Officer  of  the  Star  of  Roumania,  1888. 

Born  of  a wealthy  and  distinguished  family,  Schreyer  was  given 
every  opportunity  for  study  and  travel.  In  1848,  accompanied  his 
friend  Prince  Taxis  through  Hungary,  Wallachia  and  Southern 
Russia;  joined  the  Austrians  on  the  march  through  the  Danubian 
principalities  in  1854.  Visited  Syria,  Egypt  and  Algiers  and  finally 


LANDSCAPE,  WITH  SHEEP  GRAZING.— CHARLES  EMILE  JACQUE. 


library 


UNIVERSirVof  ILLINOIS 


THE  W P.  WILSTACH  COLLECTION. 


61 


settled  in  Paris,  later  to  divide  his  time  between  that  city  and  Kron- 
berg,  near  Frankfort.  His  work  is  dashing,  bold,  resolute  and  full 
of  fine  mellow  color  and  poetic  sentiment.  A delightful  letter  to 
Schreyer  reads : “ I came  with  Hert  and  Martinet  to  see  you.  You 
are  gone  out,  but  your  genius  remains  at  home.  We  have  admired 
this  marvelous  picture  of  ‘ Chasse-Niege,’  so  true,  so  picturesque, 
so  dramatic.  1 am  egotistic  enough  to  believe  that  I am  a good 
judge  in  this  matter.  1 have  been  myself  enveloped  in  a snowy 
whirlwind  near  Kowno,  and  your  canvas  makes  me  shiver;  I seem 
to  be  still  in  Russia.  We  hope  that  you  will  be  willing  to  send  this 
masterpiece  to  our  exposition.  I dare  not  believe  in  such  a happi- 
ness, and  I thank  you  in  my  name  and  in  the  name  of  the  Societe 
National  des  Beaux-Arts.  Your  admirer  and  President,  Theophile 
Gautier.” 


84.  Winter 

SCHRCEDTER  (Adolph) 


42>a'  x 35. 


7 


Born,  1805.  Died,  Carlsruhe,  1875. 

Pupil  of  his  father,  Berlin  Academy  and  Schadow  in  Diisseldorf. 
Professor  at  Carlsruhe,  1859. 

Retired,  1872. 


Sec.  A 


Berlin. 


85. 


Don  Quixote  in  his  Study  Reading  the  History  of  Knight 


Errantry. 


20  x 24. 


Sec.  A 


86.  Two  Monks  in  a Wine  Cellar. 

20%  x 17%.  Daced  1863. 


Sec.  N 


SEYDEL  (Edward) 

87.  Street  Scene  in  front  of  a Meat  Shop. Sec.  P 

8x7.  Dated  1845. 

SIEGERT  (Adolf)  Diisseldorf. 


Born  Neuwied,  1820.  Died,  Diisseldorf,  1883. 

Pupil  of  Diisseldorf  Academy  and  Schadow,  1835-46. 
Settled  in  Diisseldorf  in  1851. 

Tutor  at  the  Diisseldorf  Academy  and  in  1872,  Professor. 
Medal  in  Vienna. 

Member  of  Amsterdam  Academy. 


62 


THE  \V.  P.  WILSTACH  COLLECTION. 


88.  Grace  Before  Meat Sec.  D 

gYi  x 11%. 

89.  No  Grace  Before  Meat. Sec.  D 

9%  x n%. 

SMITH  (T.  Henry)  Philadelphia. 

90.  Con  Amore Sec.  P 

30  x 24.  Dated  1866. 

SMITH  (Xanthus) 

91.  Battle  Ground  of  Algonquins,  near  Edge  Hill Sec.  M 

12  x 8. 

92.  Coast  Scene  off  South  Carolina Sec.  M 

18  x 12.  Dated  1809. 

SPITZWEG  (Karl)  Germany. 

Born  in  Munich,  1808.  Died,  1885. 

Pupil  of  Hanson. 

Order  of  St.  Michael,  1865. 

For  many  years  illustrator  for  the  “ Fliegende  Blatter.” 

93.  The  Alchemist Sec.  E 

16  x 14. 

SPRINGER  (Cornelis)  Amsterdam. 

Born  in  Amsterdam,  1817. 

Pupil  of  Kaspar  Karson. 

Member  of  Rotterdam  Academy,  1856. 

Gold  Medal,  Hague,  1857. 

Orders  of  Oaken  Crown,  1861,  and  of  Leopold. 

94.  Street  Scene  in  Amsterdam Sec.  G 

16  H x 20  %. 

STAMMEL  (Eberhard)  Dusseldorf. 

Born  at  Diisen,  1832. 

Pupil  of  the  Dusseldorf  Academy. 

Studied  in  Antwerp,  Paris  and  Munich. 

Settled  in  Dusseldorf,  1859. 


THE  ORDER  OF  THE  GUARD.— BARON  HENRI  LEYS. 


library 


of  THE 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION . 


65 


95.  La  Partie  Marriage 

25  x 22.  Dated  1863. 


Sec.  A 


STEVENS  (Alfred)  Paris. 

Born  at  Brussels,  1828. 

Pupil  of  Navez  at  Brussels  and  Roqueplan  at  Paris. 

Medal  at  Brussels,  1851. 

Paris,  1853-55-67-78. 

Legion  of  Honor,  1863 ; Officer,  1867 ; Commander,  1870. 

Order  of  Leopold,  1855  ; Officer,  1863. 

Commander  of  Austrian  Order  Francis  Joseph  and  of  Bavaria. 

Order  of  St.  Michael. 

France  and  Belgium  present  rival  claims  for  this  artist,  who  has 
exhibited  since  1849  in  both  Paris  and  Brussels.  He  adds  to  the 
strength  and  exactness  of  his  early  Flemish  education  the  greater 
subtlety  of  impression  and  the  freedom  and  grace  of  French  execu- 
tion. 


96.  Will  you  go  with  me,  Fide?  . 

19^  x 24^. 

SULLY  (Thomas) 

Born  in  England  in  1783. 


Sec.  C 

Dated  1859. 

..'h!  \!J 

■■  Wi  ; ;•  • * V r . . 

1 1 Philadelphia. 

Died  in  Philadelphia,  1872. 


Came  to  America  with  his  parents,  who  were  comedians,  in  1792 
and  settled  in  Charleston,  S.  C.  In  1806  went  to  New  York  and, 
with  the  exception  of  a short  visit  to  Boston  to  study  with  Gilbert 
Stuart,  remained  there  until  1808.  In  1809  went  to  London  for  in- 
struction from  Benjamin  West  and  returning  in  1810,  settled  per- 
manently in  Philadelphia.  Visited  England  in  1837-38  and  in  the 
latter  year  painted  from  life  a full-length  portrait  of  Queen  Victoria. 

From  1820  to  1840  exhibited  ten  portraits  at  the  Royal  Academy. 

97.  Gypsy  Woman  and  Child,  after  Murillo Sec.  N 

24  x 30.  Dated  1852. 


98.  Peasant  Girl,  after  Rembrant.  .... 

24  x 30.  Dated  1857. 


Sec.  P 


Spanish  Mother,  after  Wilkie 

16  x 20.  Dated  1852. 


99. 


Sec.  P 


66 


THE  W.  P.  XVILSTACH  COLLECTION. 


TODD  (George)  Paris. 

100.  Poor  Man’s  Bouquet Sec.  P 


23  V2  x 28  Ya.  Dated  1869. 


TROYON  (Constant)  Paris- 

Born  Sevres,  1810.  Died,  1865. 

Pupil  of  Rivereaux. 

Medals,  1838-40-46-48-55. 

Legion  of  Honor,  1849. 

Member  of  Amsterdam  Academy. 

Diploma  to  the  Memory  of  Deceased  Artists,  E,  U.,  1878. 

A powerful  landscape  and  animal  painter.  His  superb  grasp  of 
the  subject  is  full  of  force,  freedom  and  directness.  His  knowledge 
of  the  animals  he  paints,  their  appearance,  motions,  life  and  pecu- 
liar characteristics,  is  complete.  “ The  poetry  of  the  fields  has  never 
been  more  feelingly  interpreted  than  by  him,”  writes  Hamerton. 

“In  the  * Oxen  Going  to  Work’  we  have  a page  of  rustic  description 
as  good  as  anything  in  literature,  of  mighty  oxen  marching  slowly 
to  their  toil ! Who,  that  have  seen  these  creatures  work,  can  be 
indifferent  to  the  steadfast  grandeur  of  their  nature  ? They  have 
no  petulance,  no  hurry,  no  nervous  excitability,  but  they  will  bear 
the  yoke  upon  their  necks,  and  the  thongs  about  their  horns,  and 
push  forward  without  flinching  from  sunrise  until  dusk.” 

101.  Yoke  of  Oxen  and  Boy Sec.  G 

50  x 35. 


VAN  MARCKE  (E.)  Paris. 

Pupil  of  Troyon. 

Medals,  1867-69-70. 

Legion  of  Honor,  1872. 

First  Class  Medal,  Exposition  Universelle,  1878. 

As  pupil  and  near  friend  of  Troyon,  it  is  natural  that  in  Van 
Marcke’s  early  work  the  impress  of  the  former  is  clearly  seen ; but 
stronger  individuality  came  with  greater  confidence  and  experience. 

His  animals  are  full  of  vigorous  life.  His  drawing,  modelling  and 
grouping  are  masterly  and  their  surroundings  equally  strong, 
happy  and  well  conceived. 


THE  LAST  DAY  OF  THE  CONDEMNED— MIHALY  MUNKACSY. 


■ i 


' .*• 

i- 


THE  W.  P.  WILSTACH  COLLECTION. 


69 


102.  Spanish  Ox  Team. 

23  'A  x 15  % . 


Sec.  C 


VAUTIER  (B.)  Dusseldorf. 

Born  at  Morges  on  Lake  Geneva,  1829. 

Pupil  of  Hebert,  Lugardon,  Dusseldorf  Academy  and  Jordan. 

Medals,  Berlin,  1864,  Paris,  1865-66-67-78. 

Order  of  Francis  Joseph,  1868. 

Order  of  Red  Eagle. 

Order  of  St.  Michael,  1869. 

Legion  of  Honor,  1878. 

Member  of  Berlin,  Vienna,  Munich,  Antwerp  and  Amsterdam. 

He  paints  peasant  home  life,  with  the  characteristic's  an4  individ- 
ualities it  offers,  with  great  truthfulness  V^fcj5,l^eT  studied  in  the 
Black  Forest  and  in  the  Bernese  Oberland.  His  chui£S  •sbejjey ex- 
hibited at  the  historical  exhibition  at  Munich,  achieved  a brilnahrt 


success. 

103.  He  will  never  make  anything  but  an  Artist  Sec.  P 

20  x 24.  Dated  1869. 

VERBOECK HO VEN  (Eugene)  Brussels. 


Born  in  Belgium,  1799.  Died  in  Brussels,  1881. 

Pupil  of  his  father. 

Medals  at  Paris,  1821-24-41-55. 

Legion  of  Honor,  1845 

Chevalier  of  the  Order  of  Leopold,  St.  Michael  of  Bavaria  and  Christ  of  Portugal. 
Decorated  with  the  Iron  Cross,  1830. 

Member  of  the  Royal  Academies  of  Belgium,  Antwerp  and  St.  Petersburg. 

The  work  of  this  great  Belgian  animal  painter  is  very  popular. 
Ottlev  is  authority  for  the  fact  that  after  Baron  Rothschild  gave 
Verboeckhoven  ten  thousand  francs  for  a landscape  painting  he 
never  painted  a picture  of  the  same  size  for  less.  Although  he  de- 
voted his  time  mainly  to  the  painting  of  animals,  he  also  attempted 


portrait  painting  and  sculpture. 

104.  Oxen,  Goats  and  Sheep Sec.  D 

12x8^.  Dated  1842. 

105.  Interior  of  Stable Sec.  A 


42%  x 29^.  Dated  1869. 


70 


THE  W.  P.  WILSTACH  COLLECTION. 


106.  Sheep,  Ducks  and  Chickens Sec.  G 

9x6  lA . 

107.  The  Resting-place Sec.  D 

12x8  V2.  Dated  1845. 

VOLLON  (Antoine)  Paris. 

Born  at  Lyons,  1833. 


Pupil  of  the  Lyons  Academy. 

Medals,  1865-68-69-78. 

Legion  of  Honor,  1870. 

Officer  of  the  Legion  of  Honor,  1878. 

The  picture  here  exhibited,  by  this  great  and  most  successful 
French  still-life  painter,  is  characterized  as  “Vo'llon’s  masterpiece 
in  America.”  It  procured  for  him  a medal  when  exhibited  at  the 


Paris  Salon. 

108.  After  the  Ball  Sec.  N 

50  x 56. 

VOLTZ  (Frederick)  Munich. 


Born  at  Nordingen,  1817.  Died  1886. 

Pupil  of  Munich  Academy. 

Royal  Bavarian  Professor, 

Medals  at  Berlin,  1856-61. 

Great  Wurtemberg  Art  Medal. 

Member  of  the  Academies  of  Berlin,  Munich  and  Vienna. 

Chevalier  of  the  Order  of  Red  Eagle  and  St.  Michael. 

With  a marked  preference  for  the  poetical  aspect  of  nature,  Voltz 
is  an  earnest  student  of  animal  life  both  in  its  surroundings  and 
in  its  connection  with  humanity.  A man  of  great  industry,  it  is  said 
of  him  that  having  been  disabled  by  a temporary  but  very  severe 
accident  to  his  right  hand  he,  nothing  daunted,  taught  himself  to 
use  his  left  with  equal  dexterity  and  skill.  Most  of  his  works, 


nearly  2,000,  are  in  private  collections. 

109.  Landscape  and  Cattle  Sec.  A 

35x14  yi.  Dated  1870. 

NO.  Landscape  and  Cattle  Sec.  A 

35  x 14&. 


SPANISH  OX  TEAM.— EMILE  VAN  MARCKE. 


library 


of  THE 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


73 


VON  STARKENBURC  (W.  T.)  Dusseldorf. 

III.  Scene  on  the  Hudson  River Sec.  N 


30  x 19. 


WEBER  (Otto)  Paris. 

Born  in  Berlin.  Killed  in  the  war  of  1870. 

Pupil  in  Berlin  of  Steppeck,  and  in  Paris  of  Couture. 

Medals  in  Paris,  1864-69,  Utrecht,  1866. 

“There  is  a certain  point  in  animal  painting  which  is  not  easily 
passed,  but  which  is  well  known  to  all  who  practically  attempt 
that  branch  of  art.  You  may  be  able  to  paint  a cow  or  a horse 
quite  respectably  in  some  very  common  attitude,  which  the  animal 
can  be  induced  to  retain  for  several  minutes  at  a time,  but  it  does 
not  follow  that  you  are  able  to  put  the  animal  in  one  of  those  highly 
expressive  and  living  postures  which  do  not  remain  unaltered  for 
one  second.  To  do  this  you  must  hJfYetsoipje  memory  and  imagina- 
tion, and  a knowledge  of  the  animabfflT;%urpassing  any  ordinary 
accuracy.  All  the  great  aiiSft^piiJ6^er9fhqv^f;^i^4?qwer  and  con- 
tinually use  it,  the  great  amount  of  life  which  all  recognize  in  their 
pictures  being  mainly  due  to  it.  Otto  Weber  has  it  in  the  same  de- 
gree as  Troyon  and  the  Bonheurs,  and  he  has  all  other  accomplish- 
ments necessary  to  the  production  of  a first-rate  cattle  picture.”— 
Hamerton’ s Painting  in  France. 

112.  Wood  Scene  Sec.  D 


50  x 35. 


WEBER  (Paul)  Philadelphia. 

Born  Darmstadt  in  1823. 

Pupil  of  Lucas  and  in  Frankfort  of  the  Stadel  Institute. 

Visited  the  Orient  in  1846,  and  subsequently  studied  in  Antwerp 
under  Deichmann.  In  1848-58  he  traveled  in  America  and  lived  in 
Philadelphia.  After  his  return,  settled  in  Munich.  Represented  in 
the  Corcoran  Gallery,  Washington  and  at  the  Pennsylvania  Acad- 
emy of  Fine  Arts. 

113.  Landscape  near  the  Hudson  River,  New  York Sec.  N 

27  x 19.  Dated  1854. 


74 


THE  W.  P.  WILSTACH  COLLECTION . 

WILLEMS  (Florent) 

Bom  in  Belgium,  1823. 

Pupil  of  Mechlin  Academy. 

Medals,  Paris,  1844-46-55-67-78,  Brussels,  1843. 

Legion  of  Honor,  1853;  Officer,  1864;  Commander,  1878 
Chevalier  and  Officer  of  the  Order  of  Leopold. 

Commander  of  the  Order  of  Francis  Joseph  of  Austria. 

Willems,  called  by  Rossetti  “the  dainty  domestic  painter,” 
studied  especially  the  old  Dutch  Masters  and  attracted  attention 
when  only  seventeen  years  old.  Four  years  later  the  great  success 
of  one  of  his  pictures  exhibited  at  Paris  led  to  his  settling  there. 


114.  I Was  There Sec.  C 

19  x 25. 

115.  Signed  and  Sealed. Sec.  C 


19  x 23^. 


WINNER  (William  E.)  Philadelphia. 

116.  Domestic  Felicity Sec.  N 

27  x 21 . 

117.  At  Play Sec.  P 

24  x 30. 


W1TTK AMP  (J.  B.)  Antwerp. 

Born  Westphalia,  1820. 

Pupil  in  Rotterdam  of  W.  H.  Schmidt,  then  of  Antwerp  Academy  under  De  Keyser. 
Medals,  Brussels,  1845,  the  Hague,  Bruges,  London. 

Honorary  Member  of  Amsterdam  and  Philadelphia  Academies. 

118.  The  Widow Sec.  N 

40  x 30. 


WOOD  (Geo.  B.,  Jr.)  Germantown,  Pa. 

Born  in  Philadelphia,  1832. 

Pupil  of  Pennsylvania  Academy  of  Fine  Arts. 

Member  Pennsylvania  Academy  of  Fine  Arts. 

119.  Landscape,  View  near  Germantown,  Pa Sec.  P 

24  x 18.  Dated  1865. 


LANDSCAPE.— MARTIN  RICO. 


LIBRARY 
OF  THE 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


77 


120.  Winter  Twilight. 


8x6. 


Sec.  P 


WYLE  (Robert)  Philadelphia. 

Born,  Isle  of  Man,  1839.  Died,  Brittany,  1877. 

Medal  at  Paris  Salon,  1872. 

This  artist,  in  whose  career  Mr.  Wilstach  took  a deep  personal 
interest,  went  to  Paris  in  1865  to  study  with  Barye,  intent  upon  be- 
coming a sculptor.  He  was  well  equipped  in  the  principles  of  art 
in  the  schools  of  the  Pennsylvania  Academy  of  Fine  Arts,  and  had, 
for  the  four  years  previous,  there  held  the  position  of  curator, 
exhibiting  annually  during  this  time,  busts  and  medallions  in  clay 
and  ivory.  He  finally  settled  in  Brittany , v/vyh^fe  ;he  turned  his  at- 
tention to  painting,  continuing  to  show  in ythus^edium,  that  pro- 
nounced and  delicate  feeling  for.'fotyn  ^ichyh^d.^^v^i  him  to 
sculpture.  His  pictures  are  painted  in  a style  full  of  truthfulness 
and  authority,  with  much  solidity  and  breadth  of  treatment.  Wylie 
is  represented  at  the  Pennsylvania  Academy  of  Fine  Arts,  and  the 


Metropolitan  Museum  of  Art,  New  York. 

121.  The  Postman Sec.  E 

Painted  at  Port  Aven,  France,  1868. 

122.  A Roman  Girl Sec.  N 

Painted  at  Port  Aven,  France,  1869. 

ZAMACOIS  (Eduard)  Paris. 

Born  in  Spain,  1842,  Died,  1871. 


Pupil  of  Madrid  Academy  under  F.  de  Madrazo  and  in  Paris  of  Meissonier. 

Debut  Salon,  1863. 

Medals,  Paris,  1867.  Munich,  1870. 

Diploma  to  the  memory  of  deceased  artists,  E.  U.  1878, 

A man  of  keen  wit  and  originality,  painting  with  pure  and  in- 
tense color  in  a style  polished  and  complete.  His  pictures  are 
mainly  satires  rendered  with  great  force  and  ability.  Eugene  Ben- 
son says : “ Zamacois  has  a suspicion  of  malice  that  must  be  de- 
lightful to  the  compatriots  of  Voltaire/’  and  later  that  he  is 
“ kindred  to  Moliere.  If  you  could  suppose  something  of  Moliere’s 
genius,  embodied  in  a series  of  sonnets,  you  would  have  a just 


78 


THE  W.  P.  XV I LET  A OH  COLLECTION. 


literary  expression  of  Zamacois  as  a painter.”  Dying  when  but 
thirty  years  of  age  he  left  the  memory  of  a career  of  unusual  bril- 
liancy prematurely  ended. 

123.  Trop  de  Sang Sec.  H 

14 Y*.  x 22 K.  Dated  1868. 

124.  Before  the  Battle Sec.  G 

5x7. 

^25.  After  the  Battle Sec.  G 

5x7. 

ZIMMERMAN  (Albert)  Munich. 

Born,  Saxony,  1808. 

Studied  in  Dresden  and  Munich. 

Professor  at  the  Milan  Academy  in  1827,  and  Vienna  Academy  1859. 

Member  Munich  and  St.  Petersburg  Academies. 

Bavarian  Order  of  St.  Michael. 

126.  Bellagio,  Lake  Como Sec.  N 

50  x 37. 

ZIMMERMAN  (R.  J.)  Munich. 

127.  Too  Late  for  the  Cars Sec.  P 

32  x 28.  Dated  1855. 

ANONYMOUS. 

128.  Landscape Sec.  E 

8 x 10.  Dated  1862. 


1PPM 


RETURNING  FROM  THE  CHRISTENING.— WILHELM  RIEFSTAHL. 


WATER  COLORS,  PASTELS,  CRAYONS,  ETC. 


PICTURES  NOT  OTHERWISE  DENOTED  ARE  WATER-COLORS. 


ACHENBACH  (Oswald)  Diisseldorf. 

See  page  13. 

129.  Scene  near  Naples Sec.  L 

BROCHART  (C.)  Paris. 

130.  Les  Belles  Espagnoles. Sec.  I 

31  x 38.  Pastel. 

131.  Les  Belles  Francaises. Sec  I 

31  x 38.  Pastel. 

GALL  AIT  (Louis)  ***Afif4*  Brussels. 


Born  Belgium,  i8id?>’  Djyjl  1887. 

Pupil  of  Celothen  and'-Hjennequin. 

Medals,  1835-48/''  Vi  Jiff-, 

Legion  of  Honor,  1841. 

Chevalier  of  the  Order  of  the  Crown  of  Oak,  Holland  and  Prussian  Order  of  Merit. 
Honorary  Member  of  the  Royal  Academy,  London. 

Grand  Cordon  of  the  Order  of  Leopold,  1881. 

Member  of  the  Brussels,  Antwerp,  Berlin  and  Munich  Academies. 


132.  Water  Color Sec.  I 

Dated  1868. 

HAMILTON  (James)  Philadelphia. 

See  page  34. 

133.  Sunset  on  the  Jersey  Flats Sec.  I 

16  x 9. 

134.  Moonlight  Scene Sec.  K 

15  x 15. 

135.  Ruins Sec.  K 

15  x 15. 

136.  Beach  Scene Sec.  I 


82 


THE  W.  P.  WILSTACH  COLLECTION , 


137.  New  York  and  Brooklyn  from  the  Bay Sec.  I 

16  x 9. 

138.  View  of  New  York Sec.  I 

JOHN  (J.  W.) 

139.  Landscape Sec.  L 

MORAN  (Thomas)  New  York. 

See  page  46. 

140.  View  in  the  Susquehanna  Valley Sec.  L 

Dated  1865. 

141.  Ruins  on  the  Nile Sec.  L 

Dated  1858. 

142.  Study  (After  Turner) Sec.  K 

143.  Study  (After  Turner) Sec.  K 


TOWNE  (Rosa)  Philadelphia. 

144.  Wild  Flowers Sec.  L 

WILLIS  (H.  B.)  London. 

145.  Interior  of  a Stable Sec.  L 

Dated  1856. 

SPRINGER  (C.)  Amsterdam. 

See  page  62. 

146.  Street  Scene Sec.  L 

Dated  1867. 

VAUTIER  (B.)  Dusseldorf. 

See  page  66. 

147.  Scene  in  a German  Church Sec.  K 

13  x 15.  Crayon  Drawing.  Dated  1858. 

WITTKAMP  (J.  B.)  Antwerp. 

See  page  74. 

148.  Dathsen  Preaching  before  the  Walls  of  Ghent Sec.  I 

10  x 8. 


WINTER.— ADOLPHE  SCHREYER. 


LIBRARY 

UNIVERSITY  <mw°is 


SCULPTURE. 


MARBLES. 


POWERS  (Hiram)  Florence. 

Born,  Vermont,  1807.  Died  Florence,  1873. 

His  early  life  was  spent  on  a farm.  Attended  school  for  one  year 
at  Cincinnati,  then  found  employment  there  superintending  a read- 
ing room,  but  as  he  said,  “was  forced  to  leave  that  place  as  his 
clothes  and  shoes  were  fast  t&8yiqgjhim.”  Became  in  turn  clerk  in 
a store,  commercial  traveller  .mechanic  in  a clock  and  organ 
factory.  In  1826,  fr^efoisttilyf; Visited  studio  of  Mr.  Erkstein  and 

there  discovered  his  own  latent  talent*  ror  sculpture.  With  a 
quickly  acquired  knowledge  of  modelling,  he  secured  a position  as 
general  assistant  and  artist  in  the  wax-work  department  of  the 
Western  Museum,  Cincinnati,  where  certain  of  his  ingenious  illus- 
trations of  Dante’s  Inferno  awakened  general  attention.  Powers 
then  studied  modelling  and  casting  thoroughly  and  in  1834  went  to 
Washington,  where  he  modelled  portraits  of  the  President  and  many 
leading  statesmen.  In  1837,  he  settled  in  Florence,  where  his  statue 
of  Eve,  pronounced  a masterpiece  by  Thorwaldsen,  and  his  cele- 
brated Greek  Slave,  were  given  to  the  world. 

149  Bust  of  Washington. 

Dated  1864. 

RINEHART  (W.  H.)  Rome. 

Born,  Maryland,  1825.  Died,  Rome,  1874. 

Employed  in  a Baltimore  marble-yard,  he  studied  in  the  night 
schools  of  the  Maryland  Institute  and  from  1855  to  1858  in  Italy. 

On  his  return  to  Baltimore  he  executed  many  portrait  busts,  a foun- 
tain figure  for  the  Washington  Post  Office,  and  two  figures.  “In- 


86 


THE  W.  P.  WILSTACH  COLLECTION. 


dian  ” and  “ Backwoodsman”  to  support  the  clock  in  the  House  of 
Representatives.  Later,  he  went  again  to  Rome  to  spend  the  rest 
of  his  life.  His  statue  of  Chief  Justice  Taney,  ordered  by  the  State 
of  Maryland,  is  at  Annapolis.  He  is  represented  at  the  Peabody  In- 
stitute by  “ Clytie,”  which  he  considered  his  masterpiece,  and  at 
the  Corcoran  Gallery  by  “ Rebecca.” 

150  Bust  of  Mr.  W.  P.  Wilstach. 

Dated  1870. 


ANONYMOUS. 

151  Cupid  Watching  a Butterfly. 

152  Figure. 

153  Cupid  Asleep. 

154  Bust  of  Washington. 


BRONZES. 


BARYE  (A.  L.)  Paris. 

Born,  Paris,  1795,  Died,  1875. 

Medal,  1831. 

Grand  Medal  of  Honor  for  art  bronzes,  1855,  E.  U. 

Chevalier  of  the  Legion  of  Honor,  1853.  Officer,  1855. 

Member  of  the  Institute,  1868. 

“Keenly  tormented  by  his  intense  desire  to  become  a sculptor  ” 
as  Barye  expressed  it,  his  apprenticeship  of  twenty-two  years  was 
one  of  great  poverty,  disappointment  and  patient  labor.  His  love 
and  unwavering  belief  in  his  art,  his  capacity  for  incessant  study, 
his  complete  insight  and  artistic  knowledge  of  the  character,  mode  of 
life,  power  and  fascination,  of  animal  nature  and  his  comprehension 


GRACE  BEFORE  MEAT.— A.  SIEGERT. 


LIBRARY 

OF  THE 

UNIVERSITY  of  ILLINOIS 


THE  W.  P.  WILSTACH  COLLECTION. 


89 


♦ o i arrested  movement  was  that  of  genius.  A thorough  understand- 

ing of  metals  and  casting  enabled  Barye  to  pass  judgment  on  every 
bronze  that  left  the  foundry  before  affixing  his  signature.  He  lec- 
tured at  Versailles  in  1850,  also  at  the  Louvre,  1854.  Leon  Bonnat 
writes:  “ Barye  is  one  of  the  greatest  artists  of  the  age,  I may 
even  say  of  all  the  ages.  If  I had  a comparison  to  make  I should 
think  of  Balzac.  Barye  has  understood  the  animal  and  conveyed  it 
with  a power  equal  to  that  which  Balzac  has  manifested  in  those 
passionate  researches,  in  which  he  has  so  powerfully  interpreted 
the  heart  of  man.  Both  have  left  their  ineffaceable  stamp  upon  the 
world.”  The  largest  collection  of  Barye’s  works  is  at  the  Corcoran 
Gallery,  Washington. 

155.  Buffalo  Cow. 


156. 

157. 

158. 

159. 

160. 
161. 
162. 


Eagle  and  Heron. 


Leopard.  ‘ \ . 

Leopard  and  Panther.  (Bas  Relief) 
Leopard  and  Panther.  (Bas  Relief) 
Lion  Walking. 

Lion  and  Serpent. 

Lizard. 


163.  Panther  Devouring  a Stag 

164.  Small  Turtle. 

165.  Tiger  Devouring  an  Antelope 

166.  Turtle. 


167.  Two  Rabbits. 


90 


THE  W.  P.  WILSTACH  COLLECTION. 


SANSON  (J.) 

Born  at  Nemours. 

Pupil  of  Jouffrey. 
Chevalier  of  the  Legion  of  Honor. 

Rome. 

168.  II  Saltarello. 

Dated  1865. 

ANONYMOUS. 

169.  Duke  of  Buckingham. 

170.  Indian  Hunter  on  Horseback. 

171.  Morning — After  Thorwaldsen. 

172.  Night — After  Thorwaldsen. 

NOTE. 


In  the  library,  marked  No.  173,  is  an  engraving  of  the  famous 
“ L’Hemicycle  du  Palais  des  Beaux  Arts.”  This  great  work  was  de- 
signed and  painted  by  Paul  Hippolyte  Delaroche  for  the  amphithea- 
tre of  the  Paris  Academy  of  Fine  Arts,  a hall  used  for  the  assem- 
bling of  the  students  of  the  Academy,  for  the  distribution  of  prizes, 
etc.  On  its  semicircular  wall  is  depicted  by  the  genius  of  the  artist 
a mighty  array  of  witnesses,  the  master-spirits  of  Art,  from  the  time 
of  Pericles  to  that  of  Louis  XIV.  In  the  central  group  are 
seated  Apelles,  the  painter;  to  his  right,  Ictinus,  the  architect,  and 
to  his  left,  the  sculptor,  Phidias.  Lower  down  are  four  female  fig- 
ures, personifying  the  four  great  schools  of  art — the  Greek,  Roman, 
Gothic  or  Mediaeval,  and  the  Art  of  the  Renaissance.  The  half- 
kneeling figure  in  front  represents  the  Genius  of  Fame,  at  her  side 
the  laurel  wreaths  for  distribution.  To  the  right  of  the  spectator 
are  assembled  the  celebrated  architects;  opposite  to  them  on  the 
left,  the  famous  sculptors.  Beyond  these  on  both  sides  appear  the 
great  painters;  to  the  right,  those  eminent  as  designers;  to  the 
left,  the  great  colorists.  The  painting  is  50  feet  in  length  and  15 
feet  in  height.  The  figures  in  the  foreground  are  colossal;  those 
farther  back,  life  size. 


YOKE  OF  OXEN  AND  BOY.— CONSTANT  TROYON. 


LIBRARY 
OF  THE 

UNIVERSITY  of  ILLINOIS 


LIST  OF  ILLUSTRATIONS. 


Bust  of  W.  P.  Wilstach  . . Wm.  H.  Rinehart  . . Frontispiece 


Memorial  Hall  5 

Burning  Tares  in  a Wheatfield  . Jules  Breton 15 

Tired  Out Jules  Breton 19 

Reading  the  Bible  in  the  Family  . Gustave  Brion  . ...  23 

Will  you  Buy  my  Flowers?  , . Meyer  Von  Bremen  ...  27 

Contemplation  . . . ^r.y  . Alexaijdre  Cabanel  ...  31 

Marine  View Paul  Jean  Clays  ....  35 

Landscape J.  B.  Corot  ......  39 

Landscape Charles  Francois  Daubigny  43 

Forest  of  Fontainebleau  . . . . N.  V.  Diaz . 47 

Arabs  on  Horseback Eugene  Fromentin.  ...  51 

An  Arnaut Jean  Leon  Gerome  ...  55 


Landscape  with  Sheep  Grazing.  Charles  Emile  Jacque  . 

• 59 

The  Order  of  the  Guard  . . . 

Baron  Henri  Leys  . . . 

. 63 

The  Last  Day  of  the  Condemned  Mihaly  Munkacsy  . . . 

• 67 

Spanish  Ox  Team 

Emile  Van  Marcke  . . 

• 7 1 

Landscape  

Martin  Rico 

• 75 

Returning  from  the  Christening 

Wilhelm  Reifstahl  . . . 

79 

Winter 

Adolphe  Schreyer  . . . 

• 83 

Grace  Before  Meat 

A.  Siegert 

. 87 

Yoke  of  Oxen  and  Boy  . . . . 

Constant  Troy  on  , . . 

• 9i 

Interior  of  Stable 

Eugene  Verboeckhoven 

• 95 

Landscape  and  Cattle 

Frederick  Voltz  .... 

• 97 

The  Postman 

Robert  Wylie 

- 99 

Trop  de  Sang  

Eduard  Zamacois  . . . 

. IOI 

Tiger  Devouring  an  Antelope  . 

A.  L.  Barye 

. 103 

11  Saltarello 

J.  Sanson  

. 105 

INTERIOR  OF  STABLE.— EUGENE  VERBOECKHOVEN. 


library 


m^Suum 


LANDSCAPE  AND  CATTLE.— FREDERICK  VOLTZ. 


LIBRARV 
OF  TH€ 

UNIVERStTV  of  ILLWOtS 


THE  POSTMAN.— ROBERT  WYLIE. 


library 

UNIVERSITY  of  ILLINOIS 


TROP  DE  SANG.— EDUARD  ZAMACOIS. 


TIGER  DEVOURING  AN  ANTELOPE.— A.  L.  BARYE. 


Of  we 

UmVEBSlTV  of  flUHWS 


IL  SALTARELLO.— J.  SANSON, 


UBRARy 

OF  THE 

UNIVERSITY  of  ILLINOIS 


